Coming Home



Notre Dame

For the introduction to Coming Home, I imagined a Benedictine monk-style a cappella melody, sung in the large, echoing space of a grand cathedraI. To accomplish this grandiose atmosphere, I employed reverb sampled directly from the famous Notre Dame cathedral, located in Chartres, France. The vocals eventually yield to some sparse David Gilmour-inspired lead playing, where epic reverb “hang time” allows notes to play off the cathedral’s resonant frequencies and secondary echoes.


From 3:45 to 5:45, nearly two dozen string, horn, and other guitar parts are gradually introduced to the mix.


The Build-Up

At 1:54, the "cathedral" lead guitar slowly morphs into the more up close and intimate sounding strumming of the "clean" electric guitar part, with surround panning interplay between the lead and rhythm guitars intended to help provide a smooth transition to an entirely new "movement" built up the new guitar part. Originally, I had meant for this new section to be more of a solo, acoustic-style performance, similar to how I had played the piece so many times before. However, while lying on the couch one evening playing back the arrangement in my mind, I began to imagine the faint sound of a marching band snare drum in the background. Eyes closed, I envisioned an orchestral-style build-up, where each passing of the song’s chord progression introduces a new layer of instrumentation; strings, horns, electric guitars with distortion, and finally a chorus of lead guitars all leading up to a climatic guitar solo. After the solo’s conclusion, the instrumentation fades away to a recant of the originating solo guitar part - the final chord backed by a swell of violin strings, echoing of the monk-style chant first heard at the very start of the track.


coming home photo
Cover art, before Pixelmator edits (photo: Don Perrin)

Production Notes

• Lead guitar echoes placed in rear speakers during intro section.

• As song build-up progresses, instruments are layered through speaker placement, generally emerging in the mix in either the front or rear speakers. From 3:45 to 5:45, nearly two dozen string, horn, and other guitar parts are gradually introduced to the mix. (Individual volume levels adjusted to reduce potential frequency build-up and shift focus to featured instruments as needed.)

• Twin rhythm electric guitars enter the main speakers at 4:47, with two more joining in the rear channel speakers at 4:57.

• Harmonized lead guitar beginning at 5:07. At this point, two new guitar parts are introduced each four bars, up until the solo at 5:45.

• Lead guitar solo is split into two complimentary performances, panned front and rear, with each part doubled by a second guitar (for a total of four solo guitars).







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All content copyright 2016 Jeff Perrin Music, LLC